Ongoing exhibition “Dynamic Convergences: Sociology And Art”, held at The Art Center of Chulalongkorn University, features contemporary artworks from nine artists on the interpretations and responses to the topical subject of non-violence.
Yes, Sir by Krit Ngamsom.
Works that range from painting, photography, mixed media, video and sound art have been curated by Suebsang Sangwachirapiban, the art centre’s manager.
From a Thai pop art-influenced installation featuring cartoonish feline warriors in chastity belts by Yuree Kensaku, to an installation featuring a sewing machine, along with a massively-stitched black dress lying on the floor by Pitchanan Sornyen, each of the works, in their own way, carry a thought-provoking, powerful message about non-violence.
Life talks to Suebsang about for his role as curator.
Why an exhibition on non-violence?
One day I watched a television interview with Chaiwat Satha-anand, a respected expert on the issue of non-violence in Thailand. In the programme, he was calling out for Thai people to learn to accept diversity of opinions so they can live harmoniously. I was hooked by one of his quotes: ‘We will understand other people from their perspectives, not ours. And they will understand us on our perspective, not theirs.’
To be a little more precise, how did the notion of “non-violence” attract you as an artist/curator?
Oneness by Kamonpond Wongcharoenchai.
It was intriguing because ‘non-violence’ was something that I have heard for a long time. And I realised that I had never really learned about it. I just remembered the word itself, but failed to assimilate the real meaning. Moreover, in the past few years, a lot of scholars have stepped up to say that the country is in need of ‘peace and non-violent action’ but none of them has ever pinpointed what it is, what the concept is, how long it has been in Thailand, or why it is unpopular here. These became doubts that bothered me and prompted me to look for answers. I was curious to know what it actually is.
How did you choose the artists?
I selected artists who are aged 25-40. These are young artists who have yet to be entirely established. They are representatives of a younger generation. Each of the artists has artistic character that is immensely different from the rest. So diversity in art is 100% there. Most importantly, these are artists who are interested in the idea of non-violent action.
What was the hardest part of the process?
I knew it was not easy for the artists to interpret the notion of non-violent action by themselves. Therefore, I arranged a two-day workshop with help from Rotary Peace Center at Chulalongkorn University and Center for Peace and Conflict Studies to design a curriculum for the workshop. They were happy to collaborate with me. This is why I also claim that the exhibition is truly a result of the workshop.
Can you give an example of one of the artist’s interpretation of non-violence?
The work featuring the word ‘Krab phom’ or ‘Yes, sir’ represents the personality of the artist, Krit Ngamsom. Krit is a very accommodating person who always says ‘Krab phom’ to everyone’s requests. However, he also reveals that sometimes he just says that without meaning it. This might be seen as a bad habit, but it might also be a default setting that some Thai people use for non-violence.
How did you come up with your own installation?
During the workshop, I was still clueless. But at one point [during the workshop] we talked about the importance of a table as a place where people with opposing views are brought to negotiate and end with peace eventually. I started to question how a table matters in terms of non-violent action. The thing is if arguers end up leaving a talking table without a truce, violence definitely starts to loom. So I made a softly-structured table which implies that it can be adjusted for everyone, no matter where the table is set, even in the middle of a street, so that negotiation can take place and achieve peace.
Why did you believe that art would be a good medium in promoting non-violent action?
It’s certain that many non-violent activists usually look at art as a powerful instrument. I wanted to see what would come out from the fusion of contemporary art and non-violent action, and how they would shape each other.
What do you expect from the exhibition?
I want the audiences to be familiar with the concept and the value of non-violent action at the very least. It depends on them how they would like to continue absorbing it or how they are going to apply it to something else. But in terms of the art industry, I want the exhibition to mark an area that we have never accessed before.
The exhibition will continue until Feb 7.
Black Stream by Pitchanan Sornyen.
